• pronoun, षष्ठी एकवचन genitive singular

  तस्य

  printed तस्योत्सङ्गे

  तद्

  his — the sixth stanza running to open on this pronoun or one of its kin, and the last of them. Mallinātha names the mountain once more, तस्य कैलासस्य, and this time the naming does double duty: on the other reading of the stanza तस्य is the lover on whose lap the woman lies, and the genitive is the same either way. The whole double sense of the verse starts here, in a word that says nothing at all

  grammar of तस्य

• a-stem masculine, सप्तमी एकवचन locative singular

  उत्सङ्गे

  printed तस्योत्सङ्गे

  उत्सङ्ग

  on the lap — and **Mallinātha glosses it twice in one breath, once for each reading**: ऊर्ध्वभागे कटौ च, 'on the upper part, and on the hip'. The first is the mountain's high slope and the second is a body's, and the च is doing the work of an entire second poem. He backs both with a lexicon that is new to the canto, the Mālatīmālā: उत्सङ्गो मुक्तसंयोगे सक्थन्यूर्ध्वतलेऽपि च, which gives the thigh and the upper surface among the word's senses. उत्सङ्ग is from उद् and √सञ्ज्, to hang: what a thing hangs on

  grammar of उत्सङ्गे

  तस्य उत्सङ्गे प्रणयिनः इव, “on its lap as on a lover’s,” is the last image before the city comes in view: Alakā rests on Kailāsa’s upper slope the way a woman sits in her beloved’s lap. Mallinātha reads उत्सङ्ग in both senses at once, उत्सङ्गे ऊर्ध्वभागे कटौ च, “the upper part, and also the lap,” quoting the Mālatīmālā, उत्सङ्गो मुक्तसंयोगे सक्थन्यूर्ध्वतलेऽपि च. So the mountain-slope and the lover’s lap are one word, and the city set on the height is a woman settled against the one she loves — the tenderness the whole northward journey has been climbing toward.

  • Mallinātha, Sañjīvinī — 1.65: utsaṅge ūrdhvabhāge kaṭau ca; “utsaṅgo muktasaṃyoge” iti mālatīmālāyām

• in-stem masculine, षष्ठी एकवचन genitive singular

  प्रणयिनः

  printed प्रणयिन

  प्रणयिन्, from प्र + √नी

  of a lover — glossed प्रियतमस्य, 'of a most beloved one'. The genitive stands with इव and answers तस्य: the mountain is being taken as a lover, or rather the city's lying on the mountain is being taken as a woman's lying on one. The visarga is gone before the इ of इव and the page prints प्रणयिन, which is the sound change made visible: only the analysis puts the स् back. प्रणयिन् is प्र + √नी with णिनि, one who leads affection toward — the third in-stem of this stanza and its neighbour

  grammar of प्रणयिनः

• अव्यय

  इव

  इव

  as — the first of two, and Mallinātha attaches it to the genitive in front of it, प्रणयिन इव तस्य. He does not name a figure over it, here or over the second one in the last pāda. What the stanza does instead of stating a figure is run two readings side by side, and he marks the second twice with अन्यत्र rather than once with a name

  grammar of इव

• ā-stem feminine, द्वितीया एकवचन accusative singular

  स्रस्तगङ्गादुकूलाम्

  printed स्रस्तगङ्गादुकूलां

  दुकूला, the feminine of the bahuvrīhi's last member दुकूल

  silk — दुकूल is neuter as a noun and the bahuvrīhi makes it an ā-stem feminine to agree with अलकाम्, which is the fourth compound in four stanzas whose last member changes stem-class to match what it describes: हस्ता at 1.62, लोला at 1.63, नानाचेष्ट at 1.64, and this. Mallinātha takes the word from the Śabdārṇava in the sense सूक्ष्मवस्त्र, the fine cloth — the same lexicon and the same kind of question he brought to अंशुक one stanza back, where a leaf had to pass for cloth and here a river does

  grammar of स्रस्तगङ्गादुकूलाम्

• अव्यय

  न

  न

  not — the first of the two, and it is the one that negates the other. Mallinātha reads the line as न ज्ञास्यसे इति न, 'that you will not know — no', and then says what it comes to: किं तु ज्ञास्यस एवेत्यर्थः, 'rather, you certainly will know'. Two negatives make an emphatic positive, which they do in English too; what Sanskrit adds is a rule for when it is worth doing

  grammar of न

• pronoun, प्रथमा एकवचन nominative singular

  त्वम्

  printed त्वं

  युष्मद्

  you — the subject, and Mallinātha writes it twice in his gloss, त्वं पुनस्त्वं तु, because the पुनः beside it is adversative and he wants the contrast heard. The cloud is addressed in the singular here and in the plural one line later, and the two are eight syllables apart

  grammar of त्वम्

• √दृश् + क्त्वा

  दृष्ट्वा

  √दृश्

  having seen — the absolutive, and its subject is the subject of the main clause for once, which is the ordinary case and was not the case at 1.62. Mallinātha puts it at the end of the first half of his anvaya, अलकां कुबेरनगरीं दृष्ट्वा, and then adds three words that carry the fourth pāda's simile back into the first: कामिनीमिवेति शेषः, 'the words “like a lover” are to be supplied'. So the comparison in the last line is not only about the hair; it governs the seeing as well

  grammar of दृष्ट्वा

• अव्यय

  न

  न

  not — the second of the two, standing directly on the verb it denies. **Mallinātha's note on the pair is the most explicitly grammatical thing he writes in this stanza.** He first gives the reason: कामचारिणस्ते पूर्वमपि बहुकृत्वो दर्शनसम्भावादज्ञानमसम्भावितमेव — since you go where you like, and have very likely seen the place many times before, not-knowing it is simply not to be entertained. Then the rule it illustrates: निश्चयार्थं नञ्द्वयप्रयोगः, 'the use of two negatives is for the sake of certainty', and he quotes the maxim in full — स्मृतिनिश्चयसिद्ध्यर्थेषु नञ्द्वयप्रयोगः, two negatives are used to convey recollection, certainty and establishment. So the doubled न is not emphasis in general; it is one of three named jobs, and this is the certainty one

  grammar of न

• अव्यय

  पुनः

  printed पुनरलकां

  पुनर्

  but — and it is the adversative sense rather than the 'again' sense, which Mallinātha shows by glossing it with तु: त्वं पुनस्त्वं तु. The particle sets the cloud against everyone else — another traveller might miss Alakā, but not you. The र् of पुनर् shows as itself before the vowel of अलकाम् and the two words print as one run

  grammar of पुनः

• ā-stem feminine, द्वितीया एकवचन accusative singular

  अलकाम्

  printed पुनरलकां

  अलका

  Alakā — glossed कुबेरनगरीम्, Kubera's city, and this is the first time in the poem the yakṣa's own city is named. The whole Pūrvamegha has been the road to it. **And the name is the stanza's pun**: two pādas later अलकम् is the ordinary word for a woman's curls, and the city and the hair are one sound. Mallinātha does not point at the pun; he glosses both words plainly, the city with कुबेरनगरी and the curls with चूर्णकुन्तल, and leaves the reader to hear that they are the same

  grammar of अलकाम्

  अलकाम्, the city Alakā, is set beside अलकम्, “curls,” and the whole close of the canto turns on the pun. The city, high with its seven-storied mansions, bears in the rains a mass of cloud that pours water and is strung with nets of pearl — just as a woman, कामिनी, bears her curls, चूर्णकुन्तलान्, dark and hung with pearls. Mallinātha spells out the likeness, अलकमिव चूर्णकुन्तलानीव, and marks the elephant-in-the-room resemblance of name and thing; the rain-dark cloud with its pearl-nets is the city’s hair, and the reader is meant to hear अलका and अलक as one sound doing two works.

  • Mallinātha, Sañjīvinī — 1.65: alakam iva cūrṇakuntalānīva; abhravṛndaṃ meghakadambakam

• √ज्ञा, class 9, लृट्, atmanepada, second person singular

  ज्ञास्यसे

  √ज्ञा

  you will know — the last finite verb of the Pūrvamegha, and after eight stanzas of optatives it is a plain future: the requests are over and this is a prediction. The form is middle, ज्ञास्यसे and not ज्ञास्यसि, and the reason is a rule Mallinātha does not name — Pāṇini 1.3.76 अनुपसर्गाज्ज्ञः puts √ज्ञा in the middle voice when it has no prefix and the knowing is the knower's own gain. The cloud will recognise the city for itself, and the ending says so

  grammar of ज्ञास्यसे

• in-stem masculine, सम्बोधन एकवचन vocative singular

  कामचारिन्

  कामचारिन्

  you who go as you please — the vocative, and the last address to the cloud in the Pūrvamegha. An in-stem keeps its न् in the vocative singular where the nominative drops it and lengthens: कामचारी would be the nominative and कामचारिन् is the call. Mallinātha opens with हे कामचारिन् and then makes the epithet do work no epithet has done in this poem yet — he argues from it that the cloud must already know the city

  grammar of कामचारिन्

  कामचारिन्, “O you who go where you will,” is the vocative singular of an -in stem, and it keeps its न् where the nominative कामचारी has lost it. That is Pāṇini 8.2.8 न ङिसम्बुद्ध्योः: the न-lopa that would drop the stem-final न् does not act in the सम्बुद्धि, the vocative singular — so हे कामचारिन्, like हे राजन्, holds the न् the other cases shed. The word also carries the two negatives न … न पुनः, and Mallinātha reads the pair not as denial but as its opposite: त्वं पुनस्त्वं तु न ज्ञास्यस इति न, किं तु ज्ञास्यस एवेत्यर्थः — ‘not that you will not know her; rather, you will surely know her,’ the नञ्-pair used निश्चयार्थम्, for certainty.

  • Mallinātha, Sañjīvinī — 1.65: tvaṃ … na jñāsyasa iti na, kiṃ tu jñāsyasa evetyarthaḥ; niścayārthaṃ nandvayaprayogaḥ

• pronoun, प्रथमा एकवचन nominative singular

  या

  यद्

  she who — the relative opening the second half, and its correlative is अलकाम् in the line before. The whole of the last two pādas is a relative clause hanging off the name, which is why the stanza can end without another main verb: everything after या describes the city that has already been seen

  grammar of या

• pronoun, षष्ठी बहुवचन genitive plural

  वः

  युष्मद्

  your — and it is a plural, in a poem that has addressed one cloud for sixty-four stanzas. **Mallinātha catches it and explains it in seven words**: कालस्य सर्वमेघसाधारण्याद्व इति बहुवचनम् — 'the plural वः because the season belongs to all clouds alike'. The rainy season is not this cloud's property; it is the property of clouds, and the genitive of possession therefore takes the plural even though the person being spoken to is one. He glosses the word itself युष्माकम् and the noun it goes with मेघकाल

  grammar of वः

• a-stem masculine, सप्तमी एकवचन locative singular

  काले

  काल

  in the season — glossed मेघकालः, the cloud-time, the rains. A locative of time, and the last of the poem's many ways of saying when: the first stanza put the whole thing on the first day of Āṣāḍha and the last one says only 'your season', with the possessive doing the dating

  grammar of काले

• √वह्, class 1, लट्, parasmaipada, third person singular

  वहति

  √वह्

  bears — glossed बिभर्ति, carries, which swaps a verb of hauling for a verb of holding: √वह् is what a cart or a river does and √भृ is what a body does, and the gloss moves the city one step toward being a woman. The present tense against the future of the main clause says the city is doing this now and always, and the cloud will find it so

  grammar of वहति

• a-stem neuter, द्वितीया एकवचन accusative singular

  सलिलोद्गारम्

  printed सलिलोद्गारमुच्चैर्विमाना

  उद्गार, from उद् + √गॄ

  pouring out — उद्गार is masculine on its own and stands here at the end of a compound describing the neuter अभ्रवृन्दम्, so it takes the neuter; and the a-stem gives उद्गारम् for the accusative singular in either gender, so nothing on the page shows the change. That is the fourth time in four stanzas the corpus has met this, after तोय at 1.63 and वपुस् at 1.62. सलिल is the same word that was Mānasa's water one stanza back. उद्गार is masculine as a noun and neuter here

  grammar of सलिलोद्गारम्

• ā-stem feminine, प्रथमा एकवचन nominative singular

  उच्चैर्विमाना

  printed सलिलोद्गारमुच्चैर्विमाना

  विमाना, the feminine of the bahuvrīhi's last member विमान

  with her mansions high — the last member विमान is masculine or neuter by the lexicon Mallinātha cites and takes ā for the feminine of the bahuvrīhi, agreeing with या. The word is where the stanza's two readings are furthest apart: on one side a seven-storeyed palace and on the other वि plus मान, without sulking. **Mallinātha gives both without preferring either**, and the second he introduces with अन्यत्र, 'elsewhere', which is his one word for the far side of a pun

  grammar of उच्चैर्विमाना

• √ग्रन्थ् + क्त, द्वितीया एकवचन accusative singular

  मुक्ताजालग्रथितम्

  printed मुक्ताजालग्रथितमलकं

  ग्रथित, from √ग्रन्थ्

  strung — the past participle of √ग्रन्थ्, to tie or to thread, which is the verb behind ग्रन्थ, a book: what is bound together. Mallinātha glosses it प्रत्युप्तम्, set in, the word used of a jewel in its socket. It agrees with अभ्रवृन्दम् and describes the cloud-mass with rain hanging from it in strings, and the hair with pearls in it, in the same syllables

  grammar of मुक्ताजालग्रथितम्

• a-stem masculine, द्वितीया एकवचन accusative singular

  अलकम्

  printed मुक्ताजालग्रथितमलकं

  अलक

  her curls — glossed चूर्णकुन्तलानि, the fine hair that falls loose at the forehead, with Amara cited for it: अलकाश्चूर्णकुन्तलाः. **And Mallinātha explains the number**: जातावेकवचनम्, 'the singular is of the class' — one curl is written where a head of hair is meant, because Sanskrit lets a singular stand for the kind. His gloss is a plural, चूर्णकुन्तलानि, which is how he shows what the singular is doing. The word is the city's name with one syllable's difference, and that is the whole pivot of the stanza

  grammar of अलकम्

• ī-stem feminine, प्रथमा एकवचन nominative singular

  कामिनी

  कामिनी

  a woman in love — glossed simply स्त्री, a woman, which strips the word of the loving and leaves the person. कामिनी is the feminine of कामिन्, from काम — the same first member as कामचारिन् two pādas back, so the cloud that goes where it wants and the woman who wants are named from one root. Mallinātha has already carried this word back into the first half of the stanza with कामिनीमिवेति शेषः, so the one simile printed in the last pāda is doing duty in both halves

  grammar of कामिनी

• अव्यय

  इव

  printed कामिनीवाभ्रवृन्दम्

  इव

  like — the second of the two, and the one that carries the comparison of the whole stanza. Its इ is gone into the ī of कामिनी and the two words print as one run. Mallinātha names no figure over it, which is what makes this the last stanza of a canto where he has named six: what is at work here is not a figure but two readings of one set of words, and he marks those with अन्यत्र instead

  grammar of इव

• a-stem neuter, द्वितीया एकवचन accusative singular

  अभ्रवृन्दम्

  printed कामिनीवाभ्रवृन्दम्

  वृन्द

  mass — the last word of the Pūrvamegha, and it is the word for a crowd. वृन्द is any collection; the compound makes it a bank of cloud, and Mallinātha glosses it कदम्बकम्, a cluster. The canto that opened with one cloud on one hill ends with a mass of them on a city, and the cloud the poem has been speaking to all along is about to become one of a crowd

  grammar of अभ्रवृन्दम्

No figure is named for this verse by the commentary this reading follows, so none is shown.